Lyndsey Clarke

1. Elastic Facial Caricature Warping Lyndsey Clarke ~ PhD Student ~ ~ University of Wales Swansea ~ http://cs.swan.ac.uk/~cslyndsey

2. Introduction • ‘Elastic Facial Caricature Warping’ is a computer graphics technique that I have developed during my first year as a PhD student. • The project began life as my undergraduate dissertation. • A short paper on this technique has been published in Eurographics 2006 Short Papers proceedings, and a poster was presented at the conference last month. • The two main themes that have been developed are: • Caricaturisation • Beautification • This talk aims to explain the paper in a little more detail and give you all an insight into my research. http://cs.swan.ac.uk/~cslyndsey

3. What exactly is Elastic Facial Caricature Warping? 2. Beautification 3. Deviation 1. Caricaturisation The Subject He’s Beautiful! We’ve gone too far! Hee! Hee! Ha! Ha! Uh oh…

4. The History of the Caricature Early Caricature of Charles Darwin (1880) • Caricatures are portraits that exaggerate or distort the essence of a person to create an easily identifiable, but humorous, visual likeness. • Some of the earliest caricatures are found in the works of Leonardo da Vinci, who actively sought people with deformities to use as models! • Caricatures gained further popularity in the early 19th century, when satirical drawings of politicians and local celebrities would be printed in newspapers, however they were often not warmly received. • After WW1 the appeal of caricatures rose dramatically and they became a very common sight in most magazines and newspapers due to large demand from the public. Modern Caricature of Arnold Schwarzenegger http://cs.swan.ac.uk/~cslyndsey

5. Caricaturisation • Caricaturisation is an Art • Caricatures are a form of visual art, in which subjects are portrayed with exaggerated features that emphasise their individual differences from everyone else. • [L. Redman, How to Draw Caricatures, Contemporary Books, 1984] • The aim of a caricature is to provide an amusing source of entertainment and humour, especially in western society. • Caricaturisation is a Science • A caricature is typically drawn by emphasising all of the features that make that person different from a completely symmetrical reference face, perceived by the artist to be the ‘norm’. • Craniofacial Anthropometry can be used to provide important facial measurements that should be considered during the creation of the caricature. An example of some of these measurements are shown on our reference image on the right. • Caricaturisation is Computer Graphics • Our aim therefore is to unite the disciplines of art and science by introducing a novel and entertaining, physics based approach to the creation of caricatures using computer graphics. A Caricature Our Reference Face with Feature Points http://cs.swan.ac.uk/~cslyndsey

6. Beautification • ‘Beautification’ is the process of physically making something appear more beautiful by altering its physical structure in some way. • Facial beauty is characterised by the following factors: • SYMMETRY • PROPORTION OF FEATURES • FEATURE PLACEMENT • PROFILE OUTLINE • BABYFACEDNESS • According to some research, the more ‘perfect’ a person’s face is, the healthier they should be. • Like Caricaturisation, Beautification is also related to average face construction, since a perfectly average face is considered to be more beautiful than a standard face such as mine or yours, because all the factors I just metioned are obeyed. Brachycephalic Dolichocephalic Straight http://cs.swan.ac.uk/~cslyndsey

7. Some Symmetrical Faces Symmetry of left side of face Symmetry of right side of face Subject

8. The System Pipeline 1. Input 2. User Interaction 3. Calculation 4. Result Feature Specification System computes displacements and applies chosen model to image User chooses model Scheme A Scheme B Scheme C Scheme D Source Image http://cs.swan.ac.uk/~cslyndsey

9. Feature Specification • Feature Specification: • How do we calculate the necessary displacements? • The distance between each pair of corresponding feature points on the reference and subject’s face encodes a measurement used in the transformation. • These measurements and then used in our physical model to create the caricature. • More formally: • Let Iin be an input image of a subject to be caricaturised; Irefbe a reference image, representing the ‘norm’; and Ioutbe the output image of the caricature to be generated. Given a feature point p on image Iinand its corresponding feature point r on Iref, we would like to determine q on Ioutas the resulting exaggerated feature point: http://cs.swan.ac.uk/~cslyndsey

10. This is the first model that was developed, and it works by imagining that each feature point on the subject is a particle in motion. Mathematically it is based on Newton’s Laws of Motion, given as: Two different schemes were developed in this model: Scheme A — Controlling by Time: Each particle moves from its origin over a user-defined period of time. Scheme B — Controlling by Force & Mass: As an extension to A, each particle can be assigned a weight and a global or local force can also be applied. The Force - Motion Model http://cs.swan.ac.uk/~cslyndsey

11. The Pseudo Stress – Strain Model • It is natural to associate caricaturisation with the process of deformation by stretching or compressing different parts of a face. This directly leads to the use of metaphors related to material properties and mechanics. • Our pseudo stress-strain model can be given as: • Users can apply different ‘virtual’ material values to the facial features in order to produce different caricatures. • We have developed two separate schemes in this model: • Scheme C: Non-Uniform Original Length • Scheme D: Uniform Original Length http://cs.swan.ac.uk/~cslyndsey

12. Virtual Material Properties • Instead of explicitly specifying displacements, users can assign ‘virtual’ physical and material properties to the face in an intuitive manner. • Not only does this provide users with intuitive metaphors for specifying a desired caricaturisation, but it also introduces a novel, and more entertaining aspect to the caricature generation process. Some Material Properties used by the System http://cs.swan.ac.uk/~cslyndsey

13. Beautifying Caricaturising An Example – Scheme D: Uniform Original Length • An assumption is made that the line segment between referenceand subject points has been stretched from its original length (u). This value is then used with any two material value properties to complete the warp. Concrete Polystyrene Rubber Wood Silicone http://cs.swan.ac.uk/~cslyndsey

14. Future Work + Possible Applications • There are many areas that I will be exploring in order to extend this work further for my PhD. • Currently however the main theme I am working on is extending the system so that it produces a 3D result from 2D input images using depth maps. • Possible Future Applications: • ‘Edutainment’ Software for school children. • Plastic Surgery prediction aid. • General entertainment/fun software for use by everyday people in their own homes. 3D caricature of Albert Einstein

15. Some Results… http://cs.swan.ac.uk/~cslyndsey

16. THANK YOU! Any Questions? http://cs.swan.ac.uk/~cslyndsey